That's what I experience in my voice, anyway. When I start in high
falsetto it's easy to adduct the folds and the sound is very similar
to a that of a female alto. If I take the falsetto down to its lower
limits (preventing the voice from transitioning into chest voice),
the sound becomes breathy and flute-like. I experience no transition
while doing this, so to me it seems that the vibration pattern of
the folds stays the same, the only difference being that as I get
lower, it becomes harder and harder to adduct the folds.
Looking at it this way, couldn't Garcia's falsetto then be equated
to the lower part of 'light mechanism' ? If this is true then
Garcia's falsetto and the female middle voice would be one and the
same thing, making it quite logical that he placed the falsetto
in the middle between chest and head registers.
>
> i remember, with some confusion, marilyn horne making note of
garcia's
> use of the term 'falsetto'. she never really explained his use
(and i got
> the impression she might have thought it was a mistake) but, your
> explaination makes perfect sense now. if we define falsetto as
phonation
> without complete adduction, i'm wondering if the folds would close
more or,
> come closer to resembling complete adduction, (without compression)
as pitch
> is increased, using the same set-up.
>
> mike
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